Institut Seni Indonesia Surakarta

This book review examines the fourth edition of Sarah Pink’s canonical work, Doing Visual Ethnography, which pioneers a methodological paradigm shift towards collaborative visual ethnography. The book deconstructs the positivistic assumption that positions the camera merely as an objective recording instrument, offering instead a framework of reflexivity wherein participants are elevated as co-producers of knowledge within the complexities of the contemporary digital ecology. This review critically evaluates Pink’s methodological contributions by highlighting ethical negotiations and the risks of extractive objectification in fieldwork. Furthermore, the review contextualizes the relevance of Pink’s approach specifically for the discipline of Cultural Studies, positioning it as an essential epistemological instrument to unpack power relations, bodily performativity, and spatial dynamics that are frequently lost under the hegemony of textual transcripts. In conclusion, this review recommends Pink’s book as an emancipatory treatise that invites researchers to dismantle textual bias in favor of a reflexive, ethical, and multimodal research praxis.

The field research conducted in this paper is situated against the backdrop of the need for traditional performing arts across the whole territory of Indonesia to adapt to contemporary social, cultural, and institutional conditions. Focusing on the Wayang Wong Sriwedari Javanese classical dance theater in Surakarta Indonesia, this study examines how intergenerational renewal drives artistic change and underpins cultural sustainability. Data was collected through interviews, field observations, and archival records. Preliminary findings show that young troupe members who have received formal arts education have adjusted the company’s stage composition, rehearsal processes, and social positioning. Recruiting within local government processes to help increase organizational stability and professionalization, giving even more power back to artistic collectives matched to these strategic interests locally. Furthermore, reimagined performance aesthetics embolden viewer engagement more broadly, the renewed public interest in traditional art forms is reflected in this developing sensibility. The extent and breadth of this evolution demonstrates that regeneration operates as an integrated multi-faceted set of approaches that draw on the intertwined processes of aesthetic making, civic and collective response. Some experts outline core arguments that heritage performing arts convincingly function as essential instruments for the restoration of society whenever duly supported by sound cultural policymaking and sustained participation from communities. Therefore, scholars should strive to embrace broader definitions of cultural sustainability that position it not simply as preservation but rather a dynamic continuum that intersects with regeneration in art and public interest in institutional governance and meaning.

Penelitian ini mengkaji bentuk penyajian dan wacana kritis Tari Joget Iwak, tari ritual dalam upacara penyucian air di Petirtaan Dewi Sri, Desa Simbatan, Kabupaten Magetan, Jawa Timur. Penelitian bertujuan mendeskripsikan bentuk penyajian tari dan menganalisis wacana kritis penggunaan ikan gabus (Channa striata) dan ikan lele (Clarias sp.) hidup sebagai properti tari. Penelitian menggunakan metode deskriptif kualitatif melalui observasi tidak langsung terhadap dokumentasi audio-visual, wawancara lima informan kunci, dan studi kepustakaan. Data dianalisis menggunakan teori bentuk tari dan model analisis wacana kritis tiga dimensi Fairclough yang mencakup teks, praktik diskursif, dan praktik sosial. Hasil penelitian menunjukkan bahwa Tari Joget Iwak memadukan gerak nonrepresentasional dan representasional yang menirukan pergerakan ikan, diiringi gamelan berlaras pelog dan slendro pathet nem, tanpa tata rias, serta menggunakan busana batik ciprat langitan. Analisis wacana mengungkap ketegangan antara makna sakral-komunal ikan sebagai manifestasi Dewi Sri dan norma kontemporer tentang kesejahteraan hewan. Penelitian merekomendasikan dialog antara pelestarian tradisi dan prinsip kesejahteraan hewan tanpa menghilangkan makna ritual.

Mediation in the settlement of divorce disputes in Indonesian Religious Court has been institutionalized through Supreme Court Regulation (PERMA) Number 1 of 2016. However, there are still significant challenges in the implementation as mediation tends to be a procedural requirement rather than an effective mechanism for reconciliation. This study aims to find out the normative basis of mediation in Islamic family law, evaluate the implementation of court annexed mediation in the Religious Courts in Indonesia, and find the institutional and normative gaps that affect the effectiveness of mediation. This research is normative legal research with a statutory, conceptual and doctrinal approach. Legal materials were collected by means of systematic review of primary, secondary and tertiary legal sources and analysed by the means of qualitative content analysis and normative legal interpretation. The results show that Islamic family law provides a comprehensive normative system through the principles of islah, hakam, and maqashid al-shariah, while court-annexed mediation remains largely procedural, resulting in a significant institutional gap between family-based reconciliation and judicial mediation. Following this, this study presents an Integrated Mediation Framework, which systematically integrates Islamic legal principles with court-annexed mediation to enhance divorce dispute resolution. The proposed model integrates Islamic legal principles, family participation, judicial supervision and professional mediation into a comprehensive model of dispute resolution. The framework is the main contribution of the study as it bridges classical Islamic family law with contemporary judicial mediation and provides practical guidance to improve mediation practice and judicial policy in Indonesia’s Religious Courts.

This study examines musical practice as an arena of symbolic interaction in society, using the theoretical framework of symbolic interactionism. The framework stems from the assumption that social meaning is not inherently attached to objects or actions, but is formed through symbolic exchange between individuals and through processes of reflection and self-interpretation in social interaction. This research explores how music actors (players, listeners, communities) participate in the construction of musical meaning, how musical symbols are interpreted and negotiated, and how music functions as a medium for identity formation and social transformation. Through a descriptive-interpretive approach based on literature review of theories and previous research findings, it was found that symbolic interaction in musical practice encompasses processes of symbol repetition, public negotiation, role internalization, and intergenerational reinterpretation. Music becomes more than sound: it is a vehicle for symbolic communication that actively shapes and is shaped by society. These findings confirm that music analysis in ethnomusicology must consider aspects of symbolic micro-interaction in order to understand how cultural meaning, identity, and social structure are realized and transformed through music.